Bedroom Suck

Perth duo Hamjam is made up of best friends Hamish Rahn (Ham) and James Ireland (Jam), two creative individuals who make music they describe as “blissed out sadness”. Distinguishing themselves as a band, and not a type of bizarre type of food yet to be invented yet, the result is a melting pot of psych and electronica.

Ever the opportunists, Rahn and Ireland started recording together upon gaining access to a studio after hours. Seeing that there was plenty of potential within those late night sessions,Hamjam was born and continues to remain a sporadic, yet crucial part of the two musos’ lives.

After first gaining attention with the track ‘Cooked’ which was added to triple j rotation, and clocking 80,000 plays on Spotify with the track ‘Love’, the duo are now ready to unveil their latest release, the cleverly titled EP ‘a/s/l’.‘a/s/l?’ is an earnest and unassuming collection of tracks that muses on feelings of inadequacy, unrequited love and insecurities in a remarkably upbeat manner.

Steered by synths that exhilarate on certain tracks and dazzle on others, the band’s hazy instrumentation conjures thoughts of warm summer nights and the thrill of being young, naive and little lovelorn. Pushing sonic boundaries and enveloping the listener in their universe, HAMJAM are here to soundtrack your existential crisis.

When they’re not creating brain melting compositions together as Hamjam, Rahn and Ireland tourthe world with fellow Perth troubadours Methyl Ethel and Pond respectively.

Three boys from the civilized centre of an isolated landmark that is sometimes considered part of Australia – Hobart, Tasmania.

These young men have spent most of their formative years in this regional city; a cold, windswept town built on convict labour and a strong maritime tradition. The band hold their strength in a surprisingly heartfelt and unashamed guitar sound, full of emotional, gut wrenching sing-alongs – then transposing this into a contemporary Australian scene.

Their colleagues range from popular sensations like Gold Class and Royal Headache to the darker sounds of Kitchen’s Floor and The Native Cats, and to this they bring a true honesty and simplicity that is hard to find in today’s world.

They are interested only in their music and the reaction it sparks in their audience. Nothing could make Treehouse smile more than a packed and sweaty basement, swaying to distorted melodies and yelling themselves hoarse with joy.

Whether this honesty is a production of regional isolation, a musical heritage or simply a reminder of good human behaviour, it makes for some seriously catchy and uplifting music.

Tracklisting:Side A:1. Centre of Their World 2. Slave 3. Stop The Ocean 4. Hammer On The Door

Good Morning are a two piece recording project made up of Stefan Blair (Gemini) and Liam Parsons (Aries) from Melbourne, Australia. The two met in high school and have been writing songs ever since.

In 2013, they went halvies in a Foxtex 4 track tape machine; Good Morning is the result of that investment.They have released two mildly received EPs, Shawcross and Glory, and some similarly received singles.

In a live setting they are joined by James Macleod (Libra) and John Considine (Sagittarius). Together they have performed in the United States at CMJ Music Marathon and most of Australia.

Career highlights include being unfavourably compared to Mac DeMarco a lot, that time Urban Outfitters asked to play their music in stores and when Tyler, the Creator tweeted the cover of ‘Shawcross’.

Melbourne-based independent label Bedroom Suck Records will re-issue these two beautifully produced and incredibly catchy records on one 12″ vinyl package.

The package comes with a digital download of all 13 tracks, as well as 6 digital-only tracks including the singles ‘Step Aside’, ‘On The Street’ and ‘A Vessel’.

Dag play songs about the country, about the city, and about trying to find yourself somewhere in between. Always surrounded by isolation, living in your head - the company of strangers or the solitude of the bush.

Led by songwriter Dusty Anastassiou, Dag have gone through several lineups over their 3-year existence. Their new album was recorded over 2 years in Brisbane, with local musicians Matt Ford (Thigh Master, Tenth Court) on drums, Skye McNicol (Bent) on violin and Josh Watson (Sewers) on bass, also contributing to the mixing and coproduction of the album. The songs attempt to capture some of what is to live on the outskirts of a state or town - still isolated in the digital age from outside trends and current sounds.

The result is a mix of folk-rock and country, played in the bright, brittle style of 80's Australian indie bands like Tactics, The Cannanes and The Go-Betweens. Songs about love, loss, death and the dole make up the bulk of this record, delivered in a dead-pan Queensland drawl that resonates with earnest, honest lyricism - at once both comforting and confronting.

Some words: "There’s doubt that Dusty Anastassiou will ever find the answers to the questions he’s asking about on ‘Dogwood’. But it doesn’t matter, because simply asking those questions puts him leagues ahead of everyone else." - Ryan Saar, Soundly Sounds

"Comparisons to 90’s Silver Jews wouldn’t be out of place here. Listening to this album reminds one of the experience of coming across just such a band, back then. It’s a wonderful discovery." - Ian Powne, 4ZZZ

"A guitar that sounds as if it might be strung with barbed wire and a voice that floats on deep clouds of fucked up country-tinged remorse and post-Jandek blues." - David Keenan, Volcanic Tongue

"Frontman / songwriter Dusty Anastassiou brings us 6 songs of backyard woe and mild joy not heard with the same guitar slingin' finesse in this crumbling town since early go-betweens." - Matt Kennedy, Eternal Soundcheck

Melbourne's Lower Plenty share a new video for their second single "All The Young Men" off their forthcoming album 'Sister Sister' out next month on Bedroom Suck.

The video, filmed in a Brunswick backyard, debuted over at NOISEY who've dug in and described they're "reminded of Rum Sodomy and Lash era Pogues but this is a gentle reflection rather that a rowdy Irish jig.

'All the young men all the time, up and down my mind, off to work, off to war, who cares what for", sings Al as the band plays around him." Lower Plenty are comprised of some of Australia's most talented musicians.

The quartet are typically Australian in that they seem to exist on borrowed members, drawing together musicians responsible for bands like Total Control, The UV Race, Deaf Wish, The Focus and Dick Diver.

Unlike the harsh and direct approach of many of these outfits, Lower Plenty take the circular route, preferring to dwell in isolation and self-reflection, the result being some truly astonishing home recordings.

Recently we came into possession of a box containing lost copies of the startling debut from a band once known as Look!Pond, circa 2006. Chaotic + beautiful pop, this album is raw as shit and catchy as hell. Good times all round.

Members of this notorious trio continued on to form bands like KITCHEN’S FLOOR, SLUG GUTS and NO ANCHOR.

Boomgates started as a couple of friends having a loose Thursday evening sing and strum on the couch. It felt good. So more friends were invited along to the sporadic jam sessions. It soon became obvious that this crew were now a proper band in their own right.

Something like a mix of Big Star, Camper Van Beethoven, Towns Van Sant, The Velvet Underground, The Church and probably a heap of something else thrown in on top, Boomgates boasts members of Eddy Current Suppression Ring, Twerps, Dick Diver and about a million other awesome projects.

Two of Melbourne’s absolute finest are gathered here on a measly seven inches of vinyl, and they aren’t grouped together without reason! Both have migrated to Melbourne from further-flung regional quarters (Brisbane and Adelaide, respectively). Both groups also tap into an early 80′s post-punk/disco sound; Terrible Truths with more of a crisp, modern sheen; while Hissey Miyake seem intent on investigating the exact point of mutation between NY no-wave and disco.

It’s difficult to think of another band as in tune with Boston’s underground rock community as Fat History Month.Whether the modest two piece are demonstrating their uncanny ability to pack a basement midweek or curating shows themselves that blend the best local musicians with the finest of out-of-towners, Fat History Month‘s only intention is what embodies the DIY music scene across the city: positivity and energy. – Clay Adamcsyk, Dig Boston

First wave USA hardcore without the macho and a bit o’ added weirdness…one of the best bands I saw this year. – Nic Warnock, R.I.P Society Records

These guys don’t wear shirts in public and have crappy tattoos and walk around their houses in the morning with their dicks flopping around, eating cereal with full fat milk.

They smoke bongs habitually, and they play fast American sounding hardcore music, practicing sporadically. They spew after they drink a lot, and they love the feeling of it. At least one of them doesn’t know their real father. – Brendon Annesley, Negative Guest List

New single Warburton sees Per Purpose finally trap and capture their unofficial theme for some time now.

Recorded at the now defunct Woodland Bar a couple of months back, it sees the original trio joined by violinist Josh Watson (Sewers), twisting the ornate instrument into the orange dust cloud Per Purpose disrupt around themselves with their sunburnt post-ferocious Aus rock.

Together they conjure repetitive waves of dream/float pop using an array of cheap keyboards and machine-made beats woven with echo-drenched vocals, brass, wind instruments and off-kilter drumming.

The music of Primitive Motion is suspended in time at the blissful confluence of kosmiche Kraut rock and post-punk DIY. Reset your clocks to Primitive Motion.

After releasing a string of 7″s, cassettes and cdr-s on US label Soft Abuse, Australian cassette imprint A Guide to Saints, and Craig’s own Kindling label; Worlds Floating By is PM’s first long player.

Angel Eyes, a.k.a Andrew Cowie, is your new night-driving companion. It’s late; you’re midway between home and that unknown future, and you’re hoping whatever is ahead will be better than what you’ve left behind.

With Final Fare, Cowie delivers both nostalgia and optimism; coldness and isolation are overset by warm whisperings in your ears.An album to enjoy with either your eyes tightly shut, or firmly fixed on the horizon.